How often have you encountered this kind of definition? It is well known to specialists in the field of design, architecture and puts in some confusion those who are faced with this concept for the first time. Technical aesthetics is a way of knowing the world according to the laws of truth and beauty with the help of industrial means. This is the observance of harmony and balance in the creative architectural world. Let's go a little further and delve into this in more detail.
"Technical aesthetics is ..."
No wonder technical aesthetics is also called poetry of architecture. The definition of technical aesthetics is reflected in the design, the appearance of beautiful things and objects, the cult of their practicality and aesthetics, ergonomics and minimalism. This is the theory of engineering and design. What is design, if not an aesthetic continuation in the industrial industry? Technical aesthetics and design are closely interlinked.
This concept is the result of a multiple analysis of various factors, on the basis of which optimal conditions are created for human life.
About Theory
The definition of technical aesthetics from a scientific point of view is nothing more than a discipline that covers not only socio-cultural, technical and aesthetic issues of the formation of harmonious relations of a person with the world and everything that surrounds it. It also affects economic and psychophysiological factors. It takes into account the interconnection of ergonomics and technical aesthetics.
Basic principles and techniques
The basis and the very essence of technical aesthetics are the principles and methods of artistic construction, design, taking into account the difficulties encountered in the way of designers in the implementation of their work.
More material and tactile experience of knowing the world prevails here. Cognition through sensations, perceptions, analysis, contacts, observations - all this is a decisive catalyst in determining the right tasks and attitudes in technical aesthetics. Without them, there simply cannot be constructive and productive work.
A bit of history: idea and basics
The very idea and concept of technical aesthetics originated in the 19th century, long before the appearance of design. The concept of aesthetically valuable production products in 1857 was introduced by the English artist and art theorist John Ruskin. He considered the art of everyday things fundamental in the hierarchy of arts. His appeal of a regressive nature, namely the return from machine production to manual production, was certainly utopian, but backed by the prevailing confidence in the uniqueness of such products, their durability, quality and practicality.
Reskin adhered to the principle of worship of nature and idolized the art of the early Renaissance. He was full of rejection of mechanization as such and praised the Gothic style precisely for its belonging to nature and nature on the one hand, and at the same time for strength and firmness on the other.
Another German art theorist and architect Gottfried Semper outlined the foundations of technical aesthetics. He determined the purpose of things by:
- according to her material;
- on manufacturing technology;
- by its functionality and practicality;
- according to the ideological views of this society.
A Poet in Technology, Werkbund and the Becoming of an Idea
Another German scientist, esthetician and industrial design follower, Franz Rehlo, emphasized the need for collaboration between art and technology. He advocated the progressive implementation in the field of mechanical engineering of architectural styles.
The Belgian artist and architect Henri Van de Velde, one of the founders and promoters of the Art Nouveau style in his native country, also emphasized the need for a union of technical and artistic aspects with the inherent functional purpose of the product.
Werkbund Founder Herman Muthesius emphasized the socio-aesthetic aspect of design. His associates set themselves the goal of reorganizing construction and artistic craft in an updated and modern way. It also emphasized the social and aesthetic aspects of design. Its founders emphasized that high-quality designed and practical products at an affordable price can be realized only through industrial production.
Peter Behrens, a representative of the Düsseldorf School of Art, one of the founders of modern industrial architecture and design, also upheld the principles of practicality and functionalism, like his predecessors.
One of the founders and director of the Bauhaus, the German architect Walter Gropius, advocated the need for technical aesthetics, this concerns the design, which, in his opinion, gives the necessary special charm and framing of products.
Already at the beginning of the 20th century, the idea of a harmonious coexistence of beauty, functionality and practicality between technology and art was also emerging in Russia. And gradually there is a transformation of the image of the idea from theoretical to practical.
General Design Theory
In the main sections of technical aesthetics, one can distinguish the theory of artistic design and the general theory of design, which studies its social component, the factors that contributed to its emergence, history, current position and further development prospects, as well as the relationship with technology and art, aesthetics and the environment. Under her care is the control of the formation of such a quantity of goods that would meet the exact demand in the objective world.
Theory of Art Design
On the other side of aesthetics is the theory of artistic design, in which the requirements of technical aesthetics are expressed in shaping and composition, design, as well as the tools available to the artist-designer in his work.
And already on the basis of a summary of the design work, a technique of artistic design is emerging that gives the right direction to a potential designer or architect in his work, serves as a kind of cheat sheet, which is always at hand. What else does this technique comprise? First of all, it contains the experience of the work performed by the same fellow masters, gives tips on the materials and improvised materials used by them, the mistakes made and ways to resolve them, subtleties and tricks, and also provides a visual representation of the result of choosing a particular technique or technique.
Conclusion
No matter how many pitfalls the technical aesthetics concealed in themselves, and this is now, of course, understandable, it needs to be developed, if necessary introduced or encouraged, since the level of its development directly affects competitiveness not only in the fields of industrial design and architecture, it covers almost all levels of industry.
And at the same time, harmony, unity and orderliness must be observed in everything.